And that’s how I feel aboutHi-Fi Rushas I struggle to put my enjoyment into words.
Hi-Fi Rush thrives on these sorts of moments.
Tango Gameworks kept Hi-Fi Rush as a complete surprise until its announcement at last week’s Xbox Developer_Direct.
Hi-Fi Rush is bang on.
Where other character action games have a sort of rhythmic flow to combat, Hi-Fi Rush makes that explicit.
Gameplay becomes music; attacks become crotchets and minims; combos are musical phrases.
And so I sit at the TV.
The eyes and ears focus.
The thumbs tap tap pause tap tap pause.
There’s no other way to play.
Along with its relentless rhythm, Hi-Fi Rush really excels in its accessibility.
Further options include an on-screen metronome, colour-blind indicators, and customisation of your pulsing cat companion.
All of this is delivered with exuberant feedback.
Every action is accompanied by a guitar lick, a cheer, a hand clap, or a shout.
Get it right and a bright perfect pops up in the score.
I did find later bosses to be a touch frustrating.
That’s where those head nods came in as I tap tap tap tap…
But when all this lines up with the music, it just feels awesome.
I’ve never felt quite so empowered in an action game, like a musical superhuman.
That’s why that Joy Formidable moment hit such a high for me.
Others might point to the rhythmic combat P.N.03, which Mikami directed.
I was slightly less enthused by the plot, for its reliance on a few cliches.
It’s never less than thrilling, but it’s also sincere and unapologetically video gamey.
That’s absolutely a compliment.
That’s in part down to its aesthetic, and its use of music from a similar era.
Hi-Fi Rush is unashamed to be loud and brash and playful, and it’s confident in its execution.
I had a blast.
